Madurai Mani Iyer and Varnams
Vidya Sridhar
Hello,
Does somebody know why Madurai Mani Iyer (and for that matter, T V
Sankaranarayanan) has not sung varnams? Has he sung swarajathis?
Thanks in advance,
Vidya
Srini Pichumani
In article <31C5F4...@in.oracle.com>, Vidya Sridhar
>
>Does somebody know why Madurai Mani Iyer (and for that matter,
>T V Sankaranarayanan) has not sung varnams? Has he sung
>swarajathis?
When I asked TVS the same question, he mentioned that his uncle
Madurai Mani Iyer didn't see any necessity for "warmup" ... since
the varnam is/was reckoned to be such a piece, he had no use for
it in concerts... and preferred to launch straight into a kriti
like vAtApi gaNapatim or rAma bhakti sAmrAjyam or tatvam ariya
taramA after checking the s'ruti in his own inimitable style.
-Srini.
Ranganatha Prasad Sridharan
> Hello,
> Does somebody know why Madurai Mani Iyer (and for that matter, T V
> Sankaranarayanan) has not sung varnams? Has he sung swarajathis?
> Thanks in advance,
> Vidya <vsri...@in.oracle.com>
The only varnam that Madurai Mani Iyer was supposed to have sung
rather frequently was "Ninnu Kori" in Mohanam. Most of his
concerts were supposed to begin with "Vathapi Ganapathim" in
Hamsadwani.
I wonder if the omission of the varnams from the concerts
of Madurai Mani Iyer, and from those of T.V.Shankaranarayanan,
have got anything to do with their school of thought. The pattern
of invoking a concert with a varnam, and later choosing the raga
of the varnam for a major delineation (esp the Ragam Thanam Pallavi)
was introduced and propagated by Ariyakudi Ramanuja Iyengar. Although
M.M.Iyer seemed to follow this pattern, the exclusion of varnams was
a pointer to the contrary.
I have heard T.V.S starting concerts with ragas like Pantuvaraali,
and with a proper keertha straightaway.
Could it be that since their style of singing is already brisk,
the varnam was found to be redundant in their concerts ?
regards,
Ranga
V. Chandramouli
This is just my $0.02 worth since I am no expert. I feel varnams are an important
type of compositions that show one more facet of Carnatic music. We have some
beautiful varnams like the one in Saveri (I forget the lyrics), "viriboni" in
Bhairavi, "Mate" in Khamas that will not be heard if not sung in concerts.
Varnams are not just something to teach a beginner. Unlike geetams they do
show the raga chhaya. In fact, some varnams like "viriboni" are probably
harder than some kritis. So, I don't see the varnam as something necessarily
as warm up.
Now, if it is not warmup why sing it as item #1? That I have no problems with
since traditionally varnams are taught before kritis (though not varnams like
"viriboni"perhaps).
Somewhat related question. What makes a composition to be classified as a
kriti versus a varnam? Is this distinction precise or fuzzy? I mean Lalgudi
has composed numerous "pieces" (for lack of a better term) that he chose to
classify as varnams. Why?
--Chandramouli
M V Ramana
Ranganatha Prasad Sridharan wrote:
>
> The only varnam that Madurai Mani Iyer was supposed to have sung
> rather frequently was "Ninnu Kori" in Mohanam.
I have heard a recording of Mani Iyer singing viribONi in bhairavi
besides ninnu kOri.
Ramana
Dakshin
Very interesting questions by Chandramouli (vcha...@dip.eecs.umich.edu).
Varnam literally means, I think, color or shade or
class-in-the-ancient-society, etc. I don't see a varnam as a necessary
part of a classical concert. However, those who believe strongly that
Varnam should be the first one to be sung in a concert, in my view, are
just like those who believe in Lord Vinayaka puja before
the concert.
As for the difference between a varna and a kriti---a kriti is usually set
to one
raga and tala. A varna typically has different ragas. I may be wrong and
total fool in saying this, but in a varna each stanza (that may not be
equated
with the charana in kriti) is sung in a different raga or probably even
different
tala. It serves to show-off what the artistes got up their sleeves!
If a varna can be used wisely, it can break the monotonous rendering of
one raga per one kriti, especially if there are long alapanas, kritis and
denouements.
A kriti has a pallavi, anupallavi and charanam as its part pieces. A
kirtana
also follows this description except that one may not repeat the pallavi
or
anupallavi after each charanam (executional difference).
Dakshin Murthy
Krishna Kunchithapadam
vcha...@dip.eecs.umich.edu (V. Chandramouli) writes:
:
: Somewhat related question. What makes a composition to be classified as a
: kriti versus a varnam? Is this distinction precise or fuzzy? I mean Lalgudi
: has composed numerous "pieces" (for lack of a better term) that he chose to
: classify as varnams. Why?
The answer, if there is a good one, to the question of "what
exactly defines a varnam" is too long to post. Further
complications arise from the fact that there are many different
types of varnams, each emphasizing different aspects of music and
performance.
I suggest _The varnam: a special form in Karnatak music_ by
Lalita Ramakrishna (Harman Publishing House, New Delhi, 1991) as
a start.
A short but somewhat inaccurate list of the defining
characteristics of a varnam are:
* Emphasis on rhythm, (esp. pulsing rhythm in certain varnam
forms). This is why varnams are more popular in the dance
genre.
* Emphasis on kAla (or time measures). It is common to perform
varnams in multiple speeds.
* De-emphasis on sahitya, sangatis, alapana, swara-kalpana
(although some people include all these elements in their
varnam singing!).
The concerns in the performance of the kriti are more or less
reverse of those of the varnam---greater emphasis on sahitya,
alapana, sangati, neraval, swara, and lesser emphasis on pulsing
rhythms and kAla/gati changes.
Emphasize the pulsing rhythm with some sangatis and you have, in
a manner of speaking, the thillana (which is once again popular
in the dance genre).
Emphasize rhythm/kAla and alapana/sangati/neraval and you have
the pallavi form---part of the reason why competence in pallavi
singing is highly respected.
--Krishna
Chodavarapu Sri Ramarao
In article <4qgskl$d...@newsbf02.news.aol.com>
dak...@aol.com (Dakshin) writes:
> As for the difference between a varna and a kriti---a kriti is usually set
> to one
> raga and tala. A varna typically has different ragas.
Not true at all!!!
Only navarAgamAlika varNam composed by paTnam subrahmaNya iyer has nine
different rAgAs (as the name indicates). Other than that, most of the
varNams are composed in a given rAgA and mostly Adi tALa. ATa tALa
varNams like viribOni in bhairavi are sung rather infrequently. I do
not know where you got the idea that varNams are composed in different
rAgAs!!!
Most of the literary material in the varNams is romantic, and more
often than not, it can be sung in two or three different speeds,
sometimes incorporating the kalpana swarAs of the performer - listen to
abhOgi rendition by Tn sEshagOpAlan or l subrahmaNyam, for example.
Prof. T viswanAthan here always introduces them as a 'warm up' pieces.
regards
Ramarao
V. Chandramouli
In article <4qgskl$d...@newsbf02.news.aol.com>, dak...@aol.com (Dakshin) writes:
|> Very interesting questions by Chandramouli (vcha...@dip.eecs.umich.edu).
|> Varnam literally means, I think, color or shade or
|> class-in-the-ancient-society, etc. I don't see a varnam as a necessary
|> part of a classical concert. However, those who believe strongly that
|> Varnam should be the first one to be sung in a concert, in my view, are
|> just like those who believe in Lord Vinayaka puja before
|> the concert.
|>
|> to one
|> total fool in saying this, but in a varna each stanza (that may not be
|> equated
|> with the charana in kriti) is sung in a different raga or probably even
|> different
No, abslolutely not. Ragamalika varnams are just *one* type of varnam and is not
a trait shared by all varnams. Actually Srini Pichumani gave me some interesting
differences between kriti and varnam which I am too lazy to post at this time
of the night. If Srini doesn't post this in the next few days, then I will.
It is kind of hard to describe textually without singing out to show the
differences.
Anyway, there is only one ragamalika varnam I am aware of: Valachi. I don't know
about talamalika varnams but I am sure they exist.
--Chandramouli
Dakshin
It is preposterous to equate a thillana with a varnam. A pulsating rhythm
means nothing. It is a subjective matter as to how one reacts to a musical
sound. Switching from one raga to another is matter of changing just one
swara.
A thillana uses most frequently "tadhim--ta-ta-na-tom-ta-ki-ta-dhim...",
etc.
So while singing Vasanta if someone tried to do "nadhiri-dhom" (which is a
sound
that means NOTHING in any language) it becomes Pharaj. If you are
wondering
why, don't let your adrenaline flow!
Dakshin Murthy